ubassman

[quote name='fatback' timestamp='1394810115' post='2395505'] Also (tin hat on) there's always that danger in jazz that people play mainly for the approval of other players and worst of all for players of their own instrument. [/quote] Theres definitely that pit fall - the Nick Wheldon weekend clinic was a prime example - there was a sense that you had to be more interesting than the previous guys solo ...oneupmanship in front of ones peers is not always a good recipe for interesting music Its tough being constantly on show at College studying anything creative arts related subject where there are no 'right answers' in the back of a book and where you are expected to make progress and get things right within the tutors terms of reference. For me a really good tutor is someone who inspires and motivates ...but aims to ultimately work themselves out of a job . I am always really wary of any tutor / mentor who is more important than the student but there is always that possibility just by definition - one person is in the know and in charge ...the other person is there to learn. The key thing is mutual respect and I guess thats what you call 'clicking' with someone. A good tutor will love that they are being pushed by a hardworking student who is self motivated and hungry and wants to draw out more from their tutor. I had the real privilidge of briefly meeting Paul Ellison when he was over in the summer and a more generous man with his knowledge (and humble to boot) would be hard to find. Because Jazz is so open ended the basic approach I would hope for from any tutor is 'Nurture not neuter' ( you need your 'Cojones' intact for jazz )!

I dont know if others will agree but I have always found really intriguing contradictions with jazz - you have to be intelligent but not too clever, you have to drive the swing but then back off and create space when appropriate, you can end up playing well trodden patterns and be described as predictable or do something inventive that just sounds wrong or over complicated, when the music can be anything it does n't need to be everything and so and so forth. I did a jazz weekend at the Shoe Factory with Nick Wheldon a couple of years back and a really helpful thing that came out of that was to trust the vibe to help make the musical choices. If you cant feel a vibe then it becomes mechanical playing. Building a vocabulary and an approach to playing is probably a lifetimes adventure but the end game should always be about making great music.

[quote name='Hector' timestamp='1394721471' post='2394409'] Depends on the type I reckon! Misplaced confidence needs to be ignored, and genuine confidence (in yourself and in others) needs to be earned. Sometimes those lessons where you're almost ashamed at how little you truly know about the bass and playing music are the best ones for motivating you. I think every artist (of any kind) goes through a relatively long phase (sometimes returning to this phase) of creating things that aren't quite up to the standards we have in our heads, that somehow don't match up to what we're trying to produce. In this context, the mindset of a musician is a tough balancing act: enough insight and self-criticism to recognise areas to improve in to get your playing closer to that ideal, but going easy enough on yourself to still enjoy it and accept the level of music you're currently making. Andrew, I'd love to know who it was gave you this lesson...? PM me if you want. [/quote] +1 ...excellent advice there Hector

...oops sorry forgot that !! Easy remedy though...

...dont forget to enjoy making music!

+1 Think what you are describing is a 'Mordent' - have a look here http://www.music.vt.edu/MUSICDICTIONARY/appendix/ornaments/ornaments.html

I always put my bass on its side leaning at about 45 degrees for 3 reasons:- 1/. If the bass is laid flat on its back , the angle of the neck means that the scroll comes into contact with the ground. This puts stress on the heel of the neck where it joins the body - not great every time the van hits a pot hole! On its side there is no issue. 2/. On its side the bass takes up less room and so theres less likelihood that something will get put down on top of the bridge ...like the drummers stool. 3/. If the bridge is facing the downwards towards the outside of the van and the back is facing into the centre of van then the most vulnerable part is protected. Works for me anyway!

[b] [size=4]Bit like watching an advert on the shopping channel but I do have Dr Kertz book Injury managment and prevention for the bassist which is excellent. May be relevant here?[/size][/b] [b] [size=4][url="http://www.youtube.com/watch?v=CLDaosE67XU"]http://www.youtube.com/watch?v=CLDaosE67XU[/url][/size][/b]

[quote name='TheGreek' timestamp='1394056044' post='2387547'] He's changed the second photo...first pic is from the Warwick site.. [/quote] ...he must have seen your post !

[quote name='Roger2611' timestamp='1394047484' post='2387396'] Awe and I wanted a red one [/quote] ...never tried playing the reds ...not too bad playing the blues !

...the T shirt is the same in photos 2 and 3 i.e. its the same person in the arty black and white photos. Photo 2 and 3 are the same 6 stringed instruments that match the one in the first colour photo ...even with my glasses off !

Sorry to slightly hi-jack this thread but does anyone also know of a DB luthier in Cambridgeshire?

The thing with all factory made basses is that they are churned out as a mass production item and attention to quality control isnt the same as if one were paying a few grand for a handmade bass. Its perhaps always been a bit of an issue when you churn out instruments for the export market at relatively low cost ( relative to handmade). Many older factory plys and hybrids are shocking in the way they have been thrown together ...but some are amazing. I am just wondering if the same may be true of Strunal, Hora, Antoni, Stentor et al ? Certainly with my two Stentors I have two great instruments but I have heard many a gripe by luhtiers and players alike who have had less happy experience. Thomann have an excellent customer service and returns are not a problem - even for a DB. I am naturally skeptical about shipping a DB such a long distance but company treat the customer as king and so I would anticipate would resolve any issues.

[quote name='mart3442' timestamp='1393968530' post='2386498'] And thats the secret, don't be scared to enjoy it! [/quote] +1 ...enjoyment really shows in the playing. Musicians sometimes seem to fall into one of two main categories 1/. those who are technically perfect but often sterile and boring or 2/. those who are brilliant interpreters who are less technical . The trick is to try to be both and irrespective of what any examiner thinks ...it just makes for excellent music if there is a sense of involvement and connection rather than just a technical display.

If your budget can stretch to £3,500 this is a very nice bass for the money. http://www.bryantbasses.co.uk/basses#solo___jazz_model_

[quote name='thisnameistaken' timestamp='1393893176' post='2385655'] I just noticed this post you made. Strings and pickups are something that you will do a lot of experiments with, and it will cost you a lot of money. That's just the life of a double bass player. [/quote] +1 ...it helps if you can get hold of one of [url="http://www.colourbox.com/preview/4404810-318694-wheelbarrow-full-of-money.jpg"]these[/url] !

I used to go to college with Rick Drummie and we all thought he was just a real average kid who kind of played a bit of guitar. We kind of just ignored him as were the cool guys playing Led Zep and Hendrix solos ...then Go West hit the charts and out of the blue there was Rick as a pop star with us just going on hum drum life to become the next generation of accountants, dentists and engineers. Good on him - just goes to show you need get up and go to get on in life !

You can of course try some Innovations yourself here http://basschat.co.uk/forum/78-innovation-double-bass-strings/ Daf is what is known as a 'top geezer' !

Full size 4/4 basses are really not very 'beginner friendly'. The string length is typically 110cm whereas a 3/4 scale length is about 2 inches shorter at around 105cm - it means you get the same notes just your fingers have to stretch more on a 4/4 which is not fun in low position. Think of 3/4 as normal and 4/4 as super sized ( bigger, heavier, longer but they do have more of growl due to the extra string length) ! Joining an orchestra is an excellent idea - it may be a bit of an ordeal when you first join as typically you will have to read the repertoire and be able to convert that to a note played in the right location with the right fingering but a great way to develop through playing proper music. Having played EUBs and then DB all I can say is that feels like chewing a toffee with the wrapper on left if you are trying to emulate the DB sound ! That said, if you treat EUBs as a separate instrument they are fantastic for other reasons. A lot depends on the type of music you are making but I wouldnt have thought many orchestras would welcome anything with electrification!

Try looking on the marketplace here on BC - thats really the best way of going about business anyway!